The Heavenly and Earthly Trinities (Double Trinity)

The Heavenly and Earthly Trinities (Double Trinity)

1700s
Artist
unknown artist
Locale
Cuzco, Peru
Country
Peru
Style/Tradition
Cuzco School
Object
painting
Medium
Oil paint and gold on canvas
Accession Number
1979.182
Credit Line
Gift of Mr. and Mrs. Philip W. Amram

Unknown artist, The Heavenly and Earthly Trinities (Double Trinity), 1700s. Oil and gold on canvas; 60½ × 39 in. Gift of Mr. and Mrs. Philip W. Amram, 1979.182.

Dimensions
height: 60.5 in, 153.6700 cm; width: 39 in, 99.0600 cm
Department
Mayer Center, Latin American Art
Collection
Latin American Art

Likely painted during the 1700s in Cuzco, Peru, this painting illustrates the concept of The Heavenly and Earthly Trinities, or Double Trinity, a subject in which the Holy Family is portrayed as the earthly counterpart to the heavenly Trinity. Although the theme probably dates to the late middle ages or earlier, it became especially popular in Catholic Europe and the Spanish Americas in the mid-1600s under the influence of Jesuit theologians and writers. In the painting, the Holy Family is shown walking quietly through a landscape. Aligned horizontally, these three figures—the Virgin Mary, the Christ child, and Joseph—represent the earthly Trinity. In the cloud-filled sky above, the heavenly Trinity is presented in a vertical line: first, God the Father; next, the Holy Spirit (symbolized as dove); and finally, Christ the Son. In this image, the Christ child is shown as the axis where the two Trinities meet, as the connection between the heavenly and earthly realms. 

The earliest representation of the Double Trinity in art may have been print from about 1600 by the Flemish engraver Hieronymus Wierix. This painting was modeled after a 1631 Flemish print by Schelte Adamsz Bolswert, itself based on a design by Gerard Seghers. The unknown painter, however, did not merely copy the printed composition, but introduced several innovative elements. For example, although the print shows Joseph with his eyes turned to Mary, the painter directed Joseph’s gaze out from the canvas, looking directly at the viewer. In addition, the painted figures’ clothes and haloes are exquisitely adorned with intricate designs of applied gold leaf or paint. This extraordinary technique is characteristic of painting from eighteenth-century Cuzco and other artistic centers in the Andean highlands. 

--Sabena Kull, 2017-18 Mayer Fellow for Spanish Colonial Art
 

Known Provenance
Provenance research is on-going at the Denver Art Museum. Please e-mail provenance@denverartmuseum.org, if you have questions, or if you have additional information to share with us.

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